Not long ago, Stark was America's military industrial complex. They're a means for him to prevent more damage to his soul. The Accords aren't just a political document for Stark. Though, his reasons aren't so forward-thinking. When confronted by the mother of Charles Spencer, who blames him for her son's death, he has no choice but to try and fix the future. The only results of his obsession are a broken relationship, and an electromagnetic headache that he nurses with pills. No matter how many times re-lives the past through virtual reality - like his final conversation with his parents - he's unable to change it. government's idea of militarism, as well as its very embodiment, ready to go to war at a moment's notice.įor Tony Stark, a man trapped by traumas and past mistakes, the guilt of his actions has become too much to bear. This leaves him in an interesting position. Not out of some vaguely jingoistic notion of "freedom," but because he's seen the American agenda change over time, both in The Avengers and in Captain America: The Winter Soldier. Later in the film, primary villain Helmut Zemo (Daniel Brühl) is revealed to have a similar vendetta against the Avengers Zemo's family was collateral damage to the Avengers' reckless interventionism.Ĭaptain America isn't keen on being supervised. From the perspective of Brock Rumlow, a suicide bomber, Steve Rogers is the reason he's scarred, and exists without a country. In Civil War however, the first villain the Avengers face has a personal grudge against Captain America. In the first three of these films, global military conflict was framed either a status quo for American forces to respond to, or as flames stoked by outside actors for selfish motives, rather than something America had a hand in. Military-funded Marvel movies like Iron Man, Iron Man 2, Captain America: The Winter Soldier and Captain Marvel were each made from scripts approved by the U.S. #Captain america civil war 2 disc series#That legacy is complicated, and Civil War finally grants the series an element it had been missing for nearly a decade: deeply personal drive behind political ideology. Debates about military intervention rage on in the real world, and as of Avengers: Age of Ultron, the Avengers' legacy finally began to stand in for America's. It's a harrowing watch at times, despite building on its predecessors' confused politics. The series' long-term personal and political narratives finally boil over, clashing with one another for reasons both idealistic and petty, opposing impulses that are (rightly) framed as a continuum. While no Avengers lose their lives in Captain America: Civil War, the team tears itself apart from within they may as well have lost their identity. Last year, after having been scattered by the events of Captain America: Civil War, the Avengers were finally defeated. From scrappy "real world" solo films, to fun, landscape-shifting crossovers, to alien family dramas, the series has been laying track for its two-part finale - Avengers: Infinity War and the upcoming Avengers: Endgame - for quite some time.Ī decade of narrative investment in the superhero genre, especially in a series that aims to be so political, can't be achieved without a feeling of loss. The Marvel Cinematic Universe tries to re-invent itself every few years, albeit within a limited narrative formula. (Welcome to Road to Endgame, where we revisit the first 22 movies of the Marvel Cinematic Universe and ask, "How did we get here?" In this edition: Captain America: Civil War pays off years of build-up by injecting politics with personal impulse.)
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